Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Comoros and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Glasgow kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Human League practice in a loft in Sheffield.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Fire Engines to the rock kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Heaven 17. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Siglo XX,
Kenny Larkin,
Royal Trux,
The Walker Brothers,
Bush Tetras,
The Barracudas,
Organ,
Al Stewart,
Nas,
Spandau Ballet,
Pantaleimon,
Morten Harket,
Scientists,
Sly & The Family Stone,
Rakim,
Minny Pops,
Moebius,
Angry Samoans,
The Red Krayola,
Terrestrial Tones,
This Heat,
X-Ray Spex,
The Cure,
The Stooges,
Chris Corsano,
Thompson Twins,
The Golliwogs,
Arab on Radar,
Little Man,
the Bar-Kays,
Joensuu 1685,
cv313,
Sound Behaviour,
The Star Department,
Marshall Jefferson,
John Foxx,
The Monochrome Set,
Aaron Thompson,
Rotary Connection,
Popol Vuh,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eurythmics,
Amon Düül II,
Nick Cave & The Bad Seeds,
Rhythm & Sound,
Altered Images,
Pet Shop Boys,
Glenn Branca,
Nick Fraelich,
Make Up,
Juan Atkins,
Bill Wells,
The Gories,
Gang Gang Dance,
Malaria!,
The Searchers,
Interpol,
Ronnie Foster,
Minutemen,
Terror Squad Feat. Camron,
Urselle,
Delta 5, Delta 5, Delta 5, Delta 5.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.